I was a bit apprehensive about seeing this film. Despite absolutely loving the first Joker film, I’d glimpsed a few early reviews for the sequel which weren’t particularly positive. However, I forced myself to not be influenced by these and go into the film cold. This is just as well because walking out of the cinema after two hours and eighteen minutes, I came to the conclusion that Joker: Folie a Deux is a great film.
There are a number of reasons why it is a worthy successor, but interestingly I think the two aspects that make it work are probably the two aspects people will find the most difficult to digest. The first is the fact that as well as being a psychological thriller like the first, Folie a Deux is also a musical.
Admittedly, the first time Arthur Fleck starts singing during a prison scene is hard to wrap your head around, and overall it can be a little jarring when you are presented with a gritty, grounded scene that changes suddenly to a big, theatrical number. However, that is sort of the beauty of this film. There is plenty about Folie a Deux that tonally matches the first, but the musical element is different. It allows the sequel to have it’s own sense of identity, instead of simply copying all the aspects from the first.
It’s also a great mechanic for illustrating Arthur’s mental illness. The musical numbers are his fantasy, where his alter ego Joker is happy and adored by all. This heavily contrasts with the bleak reality that is his life in prison and time spent on trial. On occasions the fantasy and reality meet with one another and this is the real genius of Folie a Deux. Like with the first film, there are moments that you have to almost struggle through but that’s what I like about it. Todd Phillips isn’t afraid to experiment with styles and approaches and ultimately it does pay off. It just takes a while to acclimatise to.
The other main reason that will either be make or break for people is the main focus of the film: Arthur’s trial. This takes centre stage most predominantly in the second half of the runtime. It’s a bold move to set a lot of a film about a comic book character in a courtroom. Some reviewers have claimed it is boring as a result of this. I disagree.
If you look at films such as To Kill A Mockingbird, Twelve Angry Men and Philadelphia, it is evident that when handled well, a courtroom drama can be gripping and thrilling to watch. I found the courtroom scenes in Folie a Deux to be interesting, investing and crucial for character and plot development. Furthermore, for a film that only happens predominantly in two locations i.e. the prison and the courtroom it feels like there is still lots going on.
Both the courtroom and prison scenes are interspersed with Arthur’s fantasy sequences, so it never feels like the film is lingering too long in either location. Additionally, the inclusion of Lady Gaga as Lee Quinzel, aka Harley Quinn, widens the film’s focus. You could argue that Folie a Deux is a love story. I feel it is still really a continuation of Arthur and Joker’s story but his relationship with Lee is a big component.
It’s also important to note that the very beginning and finale of the film are the most experimental sections of the film, and in my opinion the best. Without giving away anything important, the last act of Folie a Deux takes the character of Joker in a decidedly different direction. This will either land with the viewer or it won’t. Tonally, it actually perfectly fits with both the arc of Arthur and complements the first film. However, die hard fans of the original comic creation might find it a bit too much of a character change for their liking.
Joaquin Phoenix is as brilliant as ever as Arthur. Like the first Joker film this is a character driven affair, and a lot of time is given to examining the inner turmoil and mental fragility of Arthur’s mind. For anyone who has seen Walk the Line it will come as no surprise that Phoenix delivers on the singing front, but he adds a level of authenticity by not being too pitch perfect.
Obviously one cannot talk about singing and not mention Lady Gaga. Of course, she is a dab hand at the musical performance parts of the film but it is her acting that is the biggest takeaway from the film. She does a great job as Lee, delivering a Harley Quinn who is slightly familiar but with a unique enough spin. Her craziness is a lot more quietly intimidating, slowly developing and unfolding throughout. One criticism would be that she isn’t in the film enough but she does a great job with the scenes she’s given.
There are some strong supporting performances with a handful of actors returning from the first film, where there characters provide testimonies in court. However, it’s Brendan Gleeson’s performance that stands out most prominently as prison guard Jackie Sullivan. He’s utterly terrifying and the moments where he actually does something nice or thoughtful for Arthur feel even more sinister, as you know there is an ulterior motive underneath.
All of these elements are impressive but for me what stood out most is Lawrence Sher’s incredible cinematography. It was something I noticed in the first film and boy does he not disappoint in this instance either. Every shot is a work of masterpiece, creating a real sense of atmosphere and intensity. What I love about the camerawork is how many close ups there are. It throws you right into the drama of the scenes. You really understand what is going on with the characters, conveyed masterfully by Phoenix and Gaga.
There are also a number of fantastic tracking one shots. Near the start of the film where we are reintroduced to Arthur, the camera follows behind him as he navigates his way down the corridors of the prison. It creates this real sense of immersion, drawing you immediately into the grimy, dark and harsh world of Arkham which serves for most of Arthur’s misery throughout the film. There is also another tracking one shot in the last act of Folie a Deux and it’s probably one of the best filmed sequences of the entire film.
This feeds very much into the pacing of Folie a Deux. It is a slow burn film. There are moments of intensity, usually in the form of a violent altercation or a big musical number, but it is a character piece and takes its time. Some may find this too slow, but I feel it allows the characters and story the appropriate time to breathe.
The songs used throughout are catchy and contrast heavily with the excellent score that is moody, melancholic and violin heavy. Hildur Gudnadottir returns from the first film for the score but also helped work on the musical numbers alongside Lady Gaga. Although they both juxtapose one another, they complement the scene they are accompanying, reinforcing the required tone alongside the acting, cinematography and direction.
Joker: Folie a Deux is a film that takes a lot of risks, and it’s decision to partly be a musical is something that won’t appeal to everyone. As will the character and narrative choices Todd Phillips has made. The clash of styles does serve for a slightly disorientating watch, but for me that reinforces the dual personality Arthur suffers from. The whole point is that it is messy, and that his fantasy world and the real don’t flow smoothly into each other but rather crash ungracefully with one another.
My last point to make is that you should watch the film in it’s entirety before making up your mind, as I feel it is one of those films where all the elements and threads come together in it’s conclusion.
Writen by Dan Ashby
